{"title":"日本民俗画中“小”与“小”的运用","authors":"Yae Ichimiya, Satoko Taguchi, Kazumi Mizumoto","doi":"10.1080/00393630.2023.2275099","DOIUrl":null,"url":null,"abstract":"ABSTRACTDoro-e refers to a genre of Japanese folk paintings: it is a group of works, likely to be produced from the mid-eighteenth to the nineteenth century, that emerged during a time when some of the techniques of European paintings, such as vanishing point, perspective, and mirror image were being incorporated into traditional Japanese paintings. Indeed, doro-e paintings played an important role in familiarising the Japanese public with these new techniques. However, the process of painting doro-e including materials and painting techniques used has not been interpreted, and the definition of doro-e remains elusive. This article begins by exploring Kamigata doro-e, particularly megane-e (vue d'optique), which was painted in the initial period of doro-e works. Materials analysis indicates the use of smalt, which is not often found in traditional Japanese paintings. Indigo was also used to depict landscapes, indicating that traditional blue dye was still the preferred colour for European-influenced paintings during the Edo period (1603–1868). This study also discusses the application of gold-coloured outlines identified as brass. A diversity of colourants and techniques was used in doro-e, a fact that is not reflected in the current definition regarding doro-e, and is discussed in this article.KEYWORDS: Doro-eJapanese folk paintingMegane-e (vue d'optique)painting for optical viewing deviceKamigatabrass AcknowledgmentsThe authors thank the late Hanae Shiba for providing doro-e collections to conduct this research.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by JSPS KAKENHI: [Grant Number JP19K21647].","PeriodicalId":21990,"journal":{"name":"Studies in Conservation","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Use of Smalt in the Japanese Folk Paintings, <i>Doro-e</i> and <i>Megane-e</i> (Vue d'Optique)\",\"authors\":\"Yae Ichimiya, Satoko Taguchi, Kazumi Mizumoto\",\"doi\":\"10.1080/00393630.2023.2275099\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACTDoro-e refers to a genre of Japanese folk paintings: it is a group of works, likely to be produced from the mid-eighteenth to the nineteenth century, that emerged during a time when some of the techniques of European paintings, such as vanishing point, perspective, and mirror image were being incorporated into traditional Japanese paintings. Indeed, doro-e paintings played an important role in familiarising the Japanese public with these new techniques. However, the process of painting doro-e including materials and painting techniques used has not been interpreted, and the definition of doro-e remains elusive. This article begins by exploring Kamigata doro-e, particularly megane-e (vue d'optique), which was painted in the initial period of doro-e works. Materials analysis indicates the use of smalt, which is not often found in traditional Japanese paintings. Indigo was also used to depict landscapes, indicating that traditional blue dye was still the preferred colour for European-influenced paintings during the Edo period (1603–1868). This study also discusses the application of gold-coloured outlines identified as brass. A diversity of colourants and techniques was used in doro-e, a fact that is not reflected in the current definition regarding doro-e, and is discussed in this article.KEYWORDS: Doro-eJapanese folk paintingMegane-e (vue d'optique)painting for optical viewing deviceKamigatabrass AcknowledgmentsThe authors thank the late Hanae Shiba for providing doro-e collections to conduct this research.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by JSPS KAKENHI: [Grant Number JP19K21647].\",\"PeriodicalId\":21990,\"journal\":{\"name\":\"Studies in Conservation\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.8000,\"publicationDate\":\"2023-11-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Conservation\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/00393630.2023.2275099\",\"RegionNum\":4,\"RegionCategory\":\"化学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHAEOLOGY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Conservation","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/00393630.2023.2275099","RegionNum":4,"RegionCategory":"化学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHAEOLOGY","Score":null,"Total":0}
The Use of Smalt in the Japanese Folk Paintings, Doro-e and Megane-e (Vue d'Optique)
ABSTRACTDoro-e refers to a genre of Japanese folk paintings: it is a group of works, likely to be produced from the mid-eighteenth to the nineteenth century, that emerged during a time when some of the techniques of European paintings, such as vanishing point, perspective, and mirror image were being incorporated into traditional Japanese paintings. Indeed, doro-e paintings played an important role in familiarising the Japanese public with these new techniques. However, the process of painting doro-e including materials and painting techniques used has not been interpreted, and the definition of doro-e remains elusive. This article begins by exploring Kamigata doro-e, particularly megane-e (vue d'optique), which was painted in the initial period of doro-e works. Materials analysis indicates the use of smalt, which is not often found in traditional Japanese paintings. Indigo was also used to depict landscapes, indicating that traditional blue dye was still the preferred colour for European-influenced paintings during the Edo period (1603–1868). This study also discusses the application of gold-coloured outlines identified as brass. A diversity of colourants and techniques was used in doro-e, a fact that is not reflected in the current definition regarding doro-e, and is discussed in this article.KEYWORDS: Doro-eJapanese folk paintingMegane-e (vue d'optique)painting for optical viewing deviceKamigatabrass AcknowledgmentsThe authors thank the late Hanae Shiba for providing doro-e collections to conduct this research.Disclosure statementNo potential conflict of interest was reported by the author(s).Additional informationFundingThis work was supported by JSPS KAKENHI: [Grant Number JP19K21647].
期刊介绍:
Studies in Conservation is the premier international peer-reviewed journal for the conservation of historic and artistic works. The intended readership includes the conservation professional in the broadest sense of the term: practising conservators of all types of object, conservation, heritage and museum scientists, collection or conservation managers, teachers and students of conservation, and academic researchers in the subject areas of arts, archaeology, the built heritage, materials history, art technological research and material culture.
Studies in Conservation publishes original work on a range of subjects including, but not limited to, examination methods for works of art, new research in the analysis of artistic materials, mechanisms of deterioration, advances in conservation practice, novel methods of treatment, conservation issues in display and storage, preventive conservation, issues of collection care, conservation history and ethics, and the history of materials and technological processes. Scientific content is not necessary, and the editors encourage the submission of practical articles, review papers, position papers on best practice and the philosophy and ethics of collecting and preservation, to help maintain the traditional balance of the journal. Whatever the subject matter, accounts of routine procedures are not accepted, except where these lead to results that are sufficiently novel and/or significant to be of general interest.